VEGAS VACATION

US, 1997, 93, Colour.
Chevy Chase, Beverly D’ Angelo, Randy Quaid, Ethan Embry, Marisol Nichols, Miriam Flynn, Wayne Newton, Wallace Shawn, Sid Caesar, Siegfried and Roy.
Directed by Stephen Kessler.

The Griswold holiday films were initially sponsored by National Lampoon. The family travelled 0ver the United States as well is into Europe. This is their trip to Las Vegas.

The film has the usual ingredients designed for the continued fans of the series. Others, not familiar, may find it all rather laboured – and a touch absurd.

Chevy Chase is once again the rather carefree father, getting a lot of money as a bonus for his invention for preserving food. Beverly D’ Angelo is once again his long-suffering wife, but devoted, although with his penchant for gambling in this film, losing over $20,000, she begins to take a stand – but, we know, all will come right in the end and the whole family will be happy.

In many ways, the film is highly materialistic – as is Las Vegas. We see all the glitz of Vegas in the 1990s and its ethos of spending and risking and are meant to be in or if not admiration. While it is billed as a family vacationland, the family needs to be pretty well off.

There are many scenes in the casino, especially with Wallace Shawn as an antagonistic tables manager, exasperating Chevy Chase, his being willing to gamble more and more not only to win but to defeat the smirking and chuckling Shawn. In the meantime, Beverly D’ Angelo is a big fan of Wayne Newton and they go to one of his performances where he makes a play for her, singing with her, then buying dresses, inviting her to his mansion… Which she ultimately rejects and Chevy Chase, of course, uses strong arm tactics. Wayne Newton’s presence is, of course, Las Vegas promotion as is the family going to see Siegfried and Roy and Chevy Chase caught up to participate in one of their magic shows along with a tiger.

The Griswold have two teenage children, Ethan Embry and Marisol Nichols.She gets caught up with a country cousin who is a dancer and goes on some daring escapades, including dancing on neon signs and wearing provocative dresses.He on the other hand, tries to go gambling, is ejected from the casinos, meets someone who is able to get him a false identity card, and when he plays the tables, he wins big time, getting a special suite in the casino… But falling foul off some of the local gangster identities.

The other complication is the country cousins who live rather primitively outside Las Vegas. Randy Quaid appears again, embodying the hillbilly style, accompanying Griswold at the casinos, eventually lending him some money which Griswold immediately gambles again, and is a good friend. His wife and family are presented quite genially.

VEGAS VACATION

US, 1997, 93, Colour.
Chevy Chase, Beverly D’ Angelo, Randy Quaid, Ethan Embry, Marisol Nichols, Miriam Flynn, Wayne Newton, Wallace Shawn, Sid Caesar, Siegfried and Roy.
Directed by Stephen Kessler.

The Griswold holiday films were initially sponsored by National Lampoon. The family travelled 0ver the United States as well is into Europe. This is their trip to Las Vegas.

The film has the usual ingredients designed for the continued fans of the series. Others, not familiar, may find it all rather laboured – and a touch absurd.

Chevy Chase is once again the rather carefree father, getting a lot of money as a bonus for his invention for preserving food. Beverly D’ Angelo is once again his long-suffering wife, but devoted, although with his penchant for gambling in this film, losing over $20,000, she begins to take a stand – but, we know, all will come right in the end and the whole family will be happy.

In many ways, the film is highly materialistic – as is Las Vegas. We see all the glitz of Vegas in the 1990s and its ethos of spending and risking and are meant to be in or if not admiration. While it is billed as a family vacationland, the family needs to be pretty well off.

There are many scenes in the casino, especially with Wallace Shawn as an antagonistic tables manager, exasperating Chevy Chase, his being willing to gamble more and more not only to win but to defeat the smirking and chuckling Shawn. In the meantime, Beverly D’ Angelo is a big fan of Wayne Newton and they go to one of his performances where he makes a play for her, singing with her, then buying dresses, inviting her to his mansion… Which she ultimately rejects and Chevy Chase, of course, uses strong arm tactics. Wayne Newton’s presence is, of course, Las Vegas promotion as is the family going to see Siegfried and Roy and Chevy Chase caught up to participate in one of their magic shows along with a tiger.

The Griswold have two teenage children, Ethan Embry and Marisol Nichols.She gets caught up with a country cousin who is a dancer and goes on some daring escapades, including dancing on neon signs and wearing provocative dresses.He on the other hand, tries to go gambling, is ejected from the casinos, meets someone who is able to get him a false identity card, and when he plays the tables, he wins big time, getting a special suite in the casino… But falling foul off some of the local gangster identities.

The other complication is the country cousins who live rather primitively outside Las Vegas. Randy Quaid appears again, embodying the hillbilly style, accompanying Griswold at the casinos, eventually lending him some money which Griswold immediately gambles again, and is a good friend. His wife and family are presented quite genially.

At the end, Sid Caesar appears as a lonely old man who never wins – but who does win, collapses, but lets the Griswold have his money.

One of the aims of the trip to Las Vegas was for husband-and-wife to renew their vows – which, ultimately they do, and all is well – mainly in terms of the script rather than what might happen in real life.

THE REWRITE

US, 2014, 107 minutes, Colour.
Hugh Grant, Marisa Tomei, J. K. Simmons, Chris Elliott, Bella Heathcote, Alison Janney, Caroline Aaron.
Directed by Marc Lawrence.

Somehow or, Hugh Grant is always the same in all his films. This did not matter to his fans, especially during the 1980s and 1990s. He could be the same Englishman in British films as well is in American films.

As he grew older, he appeared in fewer films, several of them directed by Marc Lawrence, Two Weeks Notice and Music and Lyrics. This is another Marc Lawrence film and another typical Hugh Grant comedy drama.

He plays a screenwriter who has won an award and enormous reputation for a film called Paradise Misplaced. Many years later, his wife has left him, his son lives away from him, he has not been able to write a sequel, his agent hounds him – and he takes up a temporary position at a small University in upstate New York. Even the weather is glum.

He makes several mistakes, begins a liaison with a student, Bella Heathcote, insults the professor of literature and expert on Jane Austen, Alison Janney, at a social, drinks, has to be reprimanded by the Dean, J. K. Simmons. He befriends his next-door neighbour, a Shakespearean expert, Chris Elliott.

As for his course, he does not know what to present, chooses candidates because of their good looks rather than their scripts, decides to ask them to meet a month later. Is he redeemable? The agent of redemption is a single mother, Marisa Tomei, who acts as a sort of challenge, conscience, mentor, guide. And, after several complications, all’s well that ends well.


1. An entertaining romantic comedy – for middle-aged audiences?

2. A Hugh Grant film, his screen presence over the decades? His type, manner, speaking, British – and variations on the style? Likeable?

3. The Los Angeles settings, Hollywood, filmmaking, agents? The contrast with the university town, New York State, the overcast weather, neighbours and the college, his rooms, social events, bookshop, restaurant? The musical school?

4. Keith in midlife, his initial success, Paradise Misplaced, his award – and looking at it on Youtube? Failures, down, the breakup of his marriage, distance from his son? His need for money? Consideration of the sequel but writers block?

5. The title, rewriting Keith’s life?

6. University, the reputation, the staff, the Dean, the professor and her love for Jane Austen, his neighbour and expertise on Shakespeare? The staff, the social, classes, the students, enrolling in his course? His having to read the script – and his avoiding this?

7. Keith, travelling to the town, hailed by the security guards for his film, his inappropriate joke? The meal, meeting the girls, drinking, taking Karen home, the sexual relationship, his neighbour seeing it? The repercussions, the rules, the Dean and his imposing the rules, the professor and her place on the Ethics Committee? The interactions with Karen, her strong stances, going to the restaurant, Holly asking Karen for the identification, her leaving? Her petulant behaviour in class? Holly and her insight about Karen and the need for affection from a father figure? Her incorporating this into her screenplay?

8. Keith, not teaching cancelling classes for a month? The professor urging him to go back to class? Is taking the role? Holly asking a question, its leading to his talking, his lies about the screenplay with Matt Damon, the phone calls from his agent? The professor accusing him of having chosen his students as if it were beauty contest? His apology to her, buying all the Jane Austen memorabilia?

9. Her character, dominance, alone, not liked, discussing brusquely with students about their work? Not liking cinema?

10. The Dean, friendly, his having been a Marine, his wife and four daughters, watching the chick flicks on television, the bets about his eyes watering when discussing his daughters? His being a stickler for the rules, his demands on Keith?

11. Holly, her studies, psychology, writing the script, her relationship with her children, the discussions with Keith, her verve, her being invited to the class after his reading of her screenplay, her question in the class, his beginning to talk, telling the story about Paradise Misplaced? Her story, Jerry? Her work at the shop, work at the restaurant and the encounter with Karen? His drinking, driving him home after taking him to the carousel and the location for Rod Serling’s Twilight episode? Later watching it in class? His seeing her dancing with the children?

12. Keith, beginning to explain screenwriting, the interactions with the students? The range of students, the boy and his obsession with Star Wars and his later being in hospital? The sullen Asian girl? The enthusiastic girl about Dirty Dancing? Karen and her southern presence? The other girls? The boy and his screenplay – and Keith telling this to his agent?

13. The visit to Los Angeles, taking the boy, presentation to the producers, his leaving the boy alone to fend for himself?

14. His decision to leave, discussions with the Dean, Holly urging him to stay, to explain? His visit to the professor, his plea, her accepting it, giving him her memoir – and for Meryl Streep to play her?

15. Holly, influencing him to leave a phone message for his son – and the final image of the son ringing back?

16. The enthusiasm of the class, affirmation, his future in Hollywood, the status of his sequel, the story the teacher for Matt Damon to play? His wanting to produce the boy’s screenplay?

17. The decision to stay, his telling the story to Holly – and his future in the town?

18. An enjoyable story for older audiences, crisis, getting the better of people, overcoming them? Recognising their abilities?

IS THIS THE REAL WORLD

Australia, 2015, 91 minutes, Colour.
Sean Keenan, Greg Stone, Susie Porter, Julia Blake, Matt Colwell, Charlotte Best.
Directed by Martin Mc Kenna.

Is This the Real World is a small budget Australian film, set in a city suburbs, the story of a teenager and his trying to cope with his family and at school.

Sean Keenan portrays Mark Glazeby, and the audience initially sees him in a very long opening shot, the camera behind him, walking along the high school pathways and eventually into the office of the Vice- Principal. He is being asked why he has left his previous school and given up a scholarship, the reasons for his bad behaviour, for which Mark has very few answers except to say that he was young. He is to be given a chance in his new high school.

While he seems something of a confident young man, we soon find him put to the test by some bullying, forced to take some football marks but each time being pushed out of the way by hefty fellow-student. He tries to stick it out. He does get some chance for comeuppance, his brother taking the bullies on a car ride and driving fairly recklessly.

A strong part of Mark’s life is his relationships with his brother, Matt Colwell, who also had problems with school and is about to go to prison, with his very busy mother, Susie Porter, and her exasperations, with his younger sister. But, there is also his sympathetic grandmother, played by Julia Blake, and he is very affected by her illness.

Meanwhile, at school, he becomes the target of the Vice- Principal, who makes extraordinary demands on him, including forcing him sit in his office during breaks, and then wanting him to sit there during all classes, audiences not sure why the animosity is so deep. One of the contributing factors is that the Vice- Principal’s daughter is attracted to Mark. When they abscond for the weekend, a somewhat casual sexual attraction emphasised and taken for granted, which leads to dramatic confrontation between Mark and the Vice- Principal.

The film ends with the same tracking shot, the camera following Mark down the same pathway but then into a classroom – Mark and the audience hopeful for his future.

Parents could watch the film with interest, checking the behaviour of their children. teenagers might identify with Mark, with his girlfriend Kim, and check their own behaviour and attitudes. And this kind of film is always a challenge to teachers and those in authority in schools, checking their own behaviour and attitudes.

1. An Australian slice of life? City life? Family? School?

2. The settings and authentic feel? Homes, the streets? School, classes, football field, schoolyard, corridors? Vice-Principal’s? office? Bike riding and the surroundings? The water? The holiday town, hotel? The musical score?

3. The title? For Mark Glazeby? For Kim, for her father, for Mark’s family?

4. The opening shot, the long walk along the corridors and pathways, to the office? The camera at Mark’s back? The repeat of this sequence at the end and the audience knowing all that had gone on in between?

5. Mark, discussions with the Vice- Principal? His leaving the previous school, loss of the scholarship, his saying that he was young, not giving any further reason? The mixture of self-assertion and diffidence? The situation at home, his love for his mother, her being busy, exasperated? His younger sister? The dog? In the classroom, the teachers? The fellow students? On the football field, the kicks, the big student pushing him out of the way, his getting back up again? The sports master looking on? The effect on Mark? His later being with those students, the lift in the car and his brother and his reckless driving and the apprehension of the bully? Their joining the cross-country run? The Vice- Principal watching?

6. The character of the Vice- Principal, his pride in his reputation at the school and its improvement, his interrogation of Mark, not wanting to see him much again, yet preoccupied with him, in the office, Mark writing his name, sitting in the chair during the breaks, his being told to come during all classes? Mark going outside and the repercussions? The irony of the Vice- Principal being Kim’s father?

7. Kim, seeing Mark lying on the ground, the interest, talking to him, their discussions and encounters, the eventual sexual relationship and its credibility, remarking that she wanted to get pregnant and leave school? The decision to go away for the weekend, Mark and his insistence, the airport, the town, the motel, the differences between them, Kim not wanting to ruin her life? Her fear of her father? Later moving to live with her mother?

8. The grandmother, in the house, supporting everyone, especially the boy going to prison, her being ill, hospital, death? The funeral and Mark missing it? His love for his grandmother and the effect of her death?

9. His return, his sister and the dog being sick? Symbolism of the dog recovering? Reconciliation with his mother?

10. Riding his bike, the confrontation by the Vice- Principal, the fight, anger, drowning Mark? Take them out of the water, the resuscitation? The effect on Mark, on the Vice- Principal?

11. Mark, his age, the experience, teenage issues, self-image, self-confidence, family life, school experience? His future?

IS THIS THE REAL WORLD

Australia, 2015, 91 minutes, Colour.
Sean Keenan, Greg Stone, Susie Porter, Julia Blake, Matt Colwell, Charlotte Best.
Directed by Martin Mc Kenna.

Is This the Real World is a small budget Australian film, set in a city suburbs, the story of a teenager and his trying to cope with his family and at school.

Sean Keenan portrays Mark Glazeby, and the audience initially sees him in a very long opening shot, the camera behind him, walking along the high school pathways and eventually into the office of the Vice- Principal. He is being asked why he has left his previous school and given up a scholarship, the reasons for his bad behaviour, for which Mark has very few answers except to say that he was young. He is to be given a chance in his new high school.

While he seems something of a confident young man, we soon find him put to the test by some bullying, forced to take some football marks but each time being pushed out of the way by hefty fellow-student. He tries to stick it out. He does get some chance for comeuppance, his brother taking the bullies on a car ride and driving fairly recklessly.

A strong part of Mark’s life is his relationships with his brother, Matt Colwell, who also had problems with school and is about to go to prison, with his very busy mother, Susie Porter, and her exasperations, with his younger sister. But, there is also his sympathetic grandmother, played by Julia Blake, and he is very affected by her illness.

Meanwhile, at school, he becomes the target of the Vice- Principal, who makes extraordinary demands on him, including forcing him sit in his office during breaks, and then wanting him to sit there during all classes, audiences not sure why the animosity is so deep. One of the contributing factors is that the Vice- Principal’s daughter is attracted to Mark. When they abscond for the weekend, a somewhat casual sexual attraction emphasised and taken for granted, which leads to dramatic confrontation between Mark and the Vice- Principal.

The film ends with the same tracking shot, the camera following Mark down the same pathway but then into a classroom – Mark and the audience hopeful for his future.

Parents could watch the film with interest, checking the behaviour of their children. teenagers might identify with Mark, with his girlfriend Kim, and check their own behaviour and attitudes. And this kind of film is always a challenge to teachers and those in authority in schools, checking their own behaviour and attitudes.

1. An Australian slice of life? City life? Family? School?

2. The settings and authentic feel? Homes, the streets? School, classes, football field, schoolyard, corridors? Vice-Principal’s? office? Bike riding and the surroundings? The water? The holiday town, hotel? The musical score?

3. The title? For Mark Glazeby? For Kim, for her father, for Mark’s family?

4. The opening shot, the long walk along the corridors and pathways, to the office? The camera at Mark’s back? The repeat of this sequence at the end and the audience knowing all that had gone on in between?

5. Mark, discussions with the Vice- Principal? His leaving the previous school, loss of the scholarship, his saying that he was young, not giving any further reason? The mixture of self-assertion and diffidence? The situation at home, his love for his mother, her being busy, exasperated? His younger sister? The dog? In the classroom, the teachers? The fellow students? On the football field, the kicks, the big student pushing him out of the way, his getting back up again? The sports master looking on? The effect on Mark? His later being with those students, the lift in the car and his brother and his reckless driving and the apprehension of the bully? Their joining the cross-country run? The Vice- Principal watching?

6. The character of the Vice- Principal, his pride in his reputation at the school and its improvement, his interrogation of Mark, not wanting to see him much again, yet preoccupied with him, in the office, Mark writing his name, sitting in the chair during the breaks, his being told to come during all classes? Mark going outside and the repercussions? The irony of the Vice -Principal being Kim’s father?

7. Kim, seeing Mark lying on the ground, the interest, talking to him, their discussions and encounters, the eventual sexual relationship and its credibility, remarking that she wanted to get pregnant and leave school? The decision to go away for the weekend, Mark and his insistence, the airport, the town, the motel, the differences between them, Kim not wanting to ruin her life? Her fear of her father? Later moving to live with her mother?

8. The grandmother, in the house, supporting everyone, especially the boy going to prison, her being ill, hospital, death? The funeral and Mark missing it? His love for his grandmother and the effect of her death?

9. His return, his sister and the dog being sick? Symbolism of the dog recovering? Reconciliation with his mother?

10. Riding his bike, the confrontation by the Vice- Principal, the fight, anger, drowning Mark? Take them out of the water, the resuscitation? The effect on Mark, on the Vice- Principal?

11. Mark, his age, the experience, teenage issues, self-image, self-confidence, family life, school experience? His future?

THE NICE GUYS

US, 2016, 117 minutes, Colour.
Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Kim Basinger, Margaret Qualley, Yaya Da Costa, Keith David, Beau Knapp, Lois Smith, Muriel Terrio, Daisy Tahan, Jack Kilmer, Gil Gerard.
Directed by Shane Black.

The first thing to observe, obviously, is that our two heroes are not exactly Nice Guys. But, they are much nicer than some of the other characters.

Back in the 80s, writer Shane Black created Lethal Weapon with the odd coupling of Mel Gibson and Danny Glover, one brash, one more considered but getting too old for this kind of… 20 years later he made a very entertaining spoof of this kind of buddy film with Robert Downey Jr and Val Kilmer, Kiss Kiss, Bang Bang. in the meantime, he has written and directed Iron Man 3. While there is entertainment in The Nice Guys, it does not come across as effectively as the previous films.

Not that Shane Black doesn’t know the 1970s very well and is able to recreate the atmosphere, a post-Nixon America where fraud and financial doubledealing is still prevalent. One of the other areas of corruption is that of pornography and pornographic films, something which was going to spread more extensively in the coming decades. And, there are the inevitable private investigators, still doing the same old work that Humphrey Bogart and co did back in the old days, although one of the special talents for Russell Crowe’s Jack Healy is that he is commissioned by angry parents to confront older men who have been abusing their underage daughters – and punching them out. On the other hand, while not against a punch out, Ryan Gosling’s Holland March is not as forthright.

So, Russell Crowe and Ryan Gosling, one getting larger and the other remaining thinner!, become entangled (often literally) in their trying to track down a young woman who wants to disappear. The plot development has the overtones of the 1940s film noir, those private eyes films with Humphrey Bogart or Dick Powell, blended with the buddy police comedies of the 1970s and 1980s, think Eddie Murphy and Beverly Hills Cop or 48 hours. While the underlying search and the reasons for it and the girl wanting to disappear, are all very serious, there are lots of farcical interactions, a lot of comedy patter, some physical pratfalls and some episodes which have the touch of the dumb and dumber.

In the background, as we see from the beginning, there is the Detroit car show coming up in Los Angeles – with suggestions of fraud.Further complications come when the investigators find that the missing girl is the daughter of one of the top police investigators of fraud – and, echoes of LA Confidential, she is played by Kim Basinger. When the pornography comes in, it is also rather complicated and linked with social protest, the film to be screened with damning information during the automobile show.

There are several murders along the way, some rather brutal attacks on Healy and March (who, generally but not always, are able to fight back). There are also always some tough and sleazy criminals on hand in LA, especially the sinister Johnboy played by Matt Bomer.

There is quite a serious anchor to the proceedings, a touch of a common sense and conscience. It comes in the form of March’s 13-year-old daughter, Holly, who observes shrewdly and can be challenging. She is played expertly by Australian Angourie Rice (who featured in These Final Hours and The Nowhere Boys. If this isn’t a credible entry into international film career…

Many amusing moments, but not quite.


1. The title, expectations, ironies? A buddy investigation drama? Echoes of film noir? Comic patter? Serious themes and social corruption?

2. The 1970s, the setting of, Los Angeles, costumes and decor? Private investigations? The porn world? The commercial world, Detroit and cars, deals, fraud, Justice? Post-Nixon? Americana? The musical score and the times?

3. The film noir plot, the search for a young woman, involvement in the pornography industry, involvement in political process? The hiring of the investigators, their search? Tough, violence? The atmosphere of murders?

4. The tongue-in-cheek tone of the opening, the boy, looking at the magazine, Misty Mountains and her picture, the car coming through the house, his going out, Misty Mountain’s death? Introduction to Jack Healy, Russell Crowe, as large as life or larger, his job, the man and the young girl, her willingness, leaving, Healy arriving and punching him out? Amelia, warning him off, the note? Holland March and his commission to find Amelia? Healy arriving at the door, punching him, damaging his arm? Healy encountering Holly, offering the drink?
Then making the links and joining forces?

5. March and his life, the death of his wife, the house burned, the building site, Holly reading you the night, his card and advertising, the lady wanting him to find her husband – while his ashes were on the mantelpiece? Apt and inept, verbal, discovery of clues? Touch of the dumb? Interactions with Jack?

6. Amelia, the protests, the visuals of people demonstrating on the government steps, the clue from one of the demonstrators, the projectionalilst, her boyfriend, making the film, the house burned down, the death of the producer? The dead star? The note and the disputes about the address and interpretations?

7. The older criminal, Blueface, tough, fight, the banknotes and the blue explosion? The later return, the confrontation, the older criminal and his falling to his death? Blueface, the confrontation on the road, hit by the car?

8. Holly, sensible, the antagonism with Janet and asking Healy about how much to hit her? Her age, good, conscience, asking Healy whether he had killed the man on the road? Her friendship with Jessica, hiding in the car, going to the party, seeing Amelia and warning her, the car chase, the accident? Her observations? The reading and the site, Jack’s visit? With Amelia, the arrival of Johnboy – Jessica on the phone, patter, Jessica thrown out the window?

9. Judith Kuttner, Kim Basinger, the job, her assistant, the interviews, at the office, hiring the two find her daughter, her explanations about her daughter, the cheque and the amount? The assistant ringing to collect the money, March driving, going to sleep at the wheel, the monster in the back of the car, the crash, the bag opening and it being full of paper, not money? The assistant, a change of tone, her being a killer, the confrontation?

10. Going to the hotel, to the airport, tracking Amelia, going to the penthouse after the interrogations, the shootings? Amelia landing on their car? Helping, the revelation about her mother, the making of the film, Detroit fraud? Johnboy’s arrival, the fleeing house, asking for the lift, being killed?

11. The auto show, the importance of the film, the pornography within the advertising? The projectionalist and his being assaulted? The attack, the older criminal, Johnboy, on the roof, March falling, in the pool? The shootouts? The film, its rolling along the floor, the chase, retrieving it?

12. The Detroit officials upset? Judith and her arrest, her explanation?

13. The continued action, the patter between the two – with Holly being the anchor?

CHASING ASYLUM

Australia, 2016, 97 minutes, Colour.
Directed by Eva Orner.

Although this sounds something like an understatement, Chasing Asylum is a documentary that should be seen by every Australian, especially by every politician. It is a film of special pleading rather than bias (as it has been accused of), cinema documentation of the plight of asylum seekers and refugees in the Detention Centres on Nauru and Manus Island.

The writer-director, Eva Orner, has credible credentials. She spent a decade overseas producing documentaries, most notably Alex Gibney’s Taxi to the Darkside which won her a producer’s Oscar.

Concerned about the asylum issues, especially after the Tampa incident in 2001 and the coalition government’s response, issues about which all Australians are concerned (although in different ways in their support or non-support of the asylum seekers), Eve Orner began this project, filming in 2014, able to film footage secretly on both Nauru and Manus, striking images, shocking images which are reminders of the extraordinary inhumanity experienced by those detained. The point is made that those in Australian prisons who have committed crimes know the length of their sentence and possibilities for parole – but that the asylum seekers and refugees are detained indefinitely. And what is that condition responsible for in terms of mental apprehension a deterioration, let alone all the other repressions and harsh conditions that they experience?

The film gives some outline of the history of dealing with asylum seekers and refugees, Nauru after 2001, the people smuggling, the boats arriving or being lost at sea with large loss of life, the concerns about border protection, the Sovereign Borders policy, the stopping boats policy as well as the turning back of the boats, the 2014 decision that no boat person would ever settle in Australia. The film also indicates the physical and mental deterioration of so many men and women, also children, the sexual abuse, the deaths of the Iranians in riots or by Coalition or Labor.

But, some whistleblowers have been interviewed, some identified and seen by face, others just by suggestion and voice. Of these, some were employed by the Salvation Army. The manager of one of the centres is also interviewed, expressing his dismay. And the appointee, who had worked in prisons, expresses his revulsion about conditions, about death threats to him were he to speak publicly, and his resigning in disgust, unable to help. One of the young women, who is motivated by selflessness to go to Nauru but not realising what it was like, the repercussions for the people as well as for herself, is very direct and has a lot to say which needs listening to.

The film does not try to find any solutions for coping with people smugglers, turning back the boats or not, or other political stances. What it does do is to show the inhumanity to men, to women, to children, in putting them indefinitely into sub-standard, often unsanitary, conditions, tents and huts, communal facilities, that could alarm an audience watching this film and trying to imagine how they would deal with being put in similar situations.

A point is made that the two Iranians who died seem to be economic migrants, especially when the families of both men are interviewed in Iran – but, of course, there are economic migrants everywhere (including many who came in past decades to Australia). Their claims have to be considered along with others but there is no need for them to be dehumanised along the way. We are reminded that there are Conventions about migrants and refugees that Australia has signed up to.

While the following points are not made in the film, watching the film makes an audience realise that the asylum seekers have come from different cultures, communities, colder geographical climates, dietary differences and makes them ask whether any acknowledgement is made by the authorities at the Centres, for language, for religious traditions, for the roles of men and women in these societies, in the need for children to grow as children with play and education.

This is a documentary for this particular time – and its release during the very long election campaign of 2016. It is a cinema document that will be important in decades to come as later generations look back and ask questions about policies and humanity in the treatment of asylum seekers and refugees.

There is a dedication of the film to Malcolm Fraser who, at the time was not considered to be left-wing or a bleeding heart, was able to deal with large migrations of Vietnamese in the aftermath of the Vietnam war, setting up offshore processing which moved comparatively rapidly and then bringing those approved to Australia by air and settling them. And the question is asked why this cannot be done now.

CLIFFORD

US, 1991/1994, 90 minutes, Colour.
Martin Short, Charles Grodin, Mary Steenburgen, Dabney Coleman, Richard Kind.
Directed by Paul Flaherty.

Clifford is an odd comedy, originally made in 1991 but held up for release by Orion’s financial problems. The director, Paul Flaherty, worked extensively with Martin Short on his television shows.

A major surprise is the opening of the film, set in 2050, with Martin Short as a priest supervising an orphanage and stopping a young boy from running away by telling him his story.

Martin Short, with special effects, appears as the diminutive Clifford, obsessed with dinosaurs and tormenting people with his toy dinosaur. He is absolutely wilful, no sensitivity towards anyone, wholly self-absorbed but able to put on a good show. When his uncle, Charles Grodin, agrees to take care of him, there is an initial warmth but then Clifford turns against him, especially when his uncle is pressured by business and cannot take him to Dinosaur World.

There are various pranks that he performs, especially at a social party, embarrassing the boss, Dabney Coleman, spiking a drink with Tabasco, substituting lipstick for lipgloss, making a fake tape about a bomb and getting his uncle arrested. He also tricks him in going to San Francisco while he has a party at home.While Clifford gets some comeuppance when his uncle takes him to Dinosaur World and puts him on the rollercoaster ride, speeding it up until the whole thing crashes.

Clifford thinks that he has been forgiven when he attends the marriage of his uncle and his girlfriend, Mary Steenburgen, but the look in Charles Grodin’s eye would seem to indicate that he doesn’t forgive him.

The advertising tagline is worth quoting: What's the difference between Clifford and a pit bull? One will tear your heart out, scare your friends and wreck your house. The other one is a dog.

1. A film about a monstrous child – how funny, how irritating?

2. The opening in 2050, Clifford as the priest, the orphanage, the boy running away, his tricks to keep him, the fake heart attack, his telling the boy the story, the effect on the boy? Clifford as a priest with his memories? The credibility of Clifford as a priest after such a background?

3. Back to the 1980s and 1990s, the familiar world of the audience, the city of Los Angeles, home, business offices, socials, Dinosaur World?

4. Clifford and his parents, Martin Short and the special effects for him to be a child? Precocious, his pet toy, the dinosaur, his delight in frightening people with it? His wanting to go to Dinosaur World, his parents going to Hawaii, the business conference, the reactions of his father and his irritation, his mother looking sad? Clifford’s going into the cockpit, the pilot, causing mischief, an emergency, landing in Los Angeles, his getting his way?

5. The father ringing his brother, the estrangement, his request, Martin agreeing, coming to the airport, the initial pleasure of meeting Clifford, taking him home, frightening Sarah in the show, his sweet talking to her? The beginning of the alienation from Martin, up watching television, all hours, the family ring and his wanting it, breakfast and Martin pushing his face in the cereal?

6. Martin at work, the boss with his eye on Sarah, taking her to San Francisco, Martin in the taxi, seeing them together in the restaurant, the boss and his advances, Sarah’s rejection? The issue of his wig, Clifford commenting on it, it coming off in the taxi? Martin and the preparation of the plan for the city, its exploding?

7. At the social, Clifford charming everyone, spiking Martin’s drink and getting him to make the toast, the lipstick instead of the lipgloss, everybody laughing? Martin holding Clifford to account, Clifford’s excuses, yet his laughing?

8. Martin’s arrest, the bomb threat, Clifford making the tape?

9. Clifford tricking Martin, getting him to go on the train, Clifford and his holding the party at home?

10. Martin’s final exasperation, taking Clifford to Dinosaur World, putting him on the rollercoaster, getting faster and faster, the collapse,
the mayhem, Martin rescuing him – but not forgiving him?

11. The letters of apology, his being invited to the wedding – and his saying that he had reformed, written all the letters of apology – and with the kiss from Sarah and Martin, changing his attitude? But his still having the toy dinosaur 50 years later?

ALL ABOUT E

Australia, 2015, 96 minutes, Colour.
Mandahla Rose, Julia Billington, Brett Rogers, Simon Bolton, Lex Marinos.
Directed by Louise Wadley.

All About E is a small budget film, the title with an echo of the Betty Davis film, All About Eve , a story about a young woman from Sydney who gives up her studies of the clarinet in order to be a DJ at a club. The club is run by a shady character, money changing, drugs, and demanding creditors.

The central character, E, has been involved in a love relationship with a woman from the country, Trish, but has other liaisons. The intention of the filmmakers is that this be a film with a lesbian agenda, out there for the public to respond to.

The main action of the film concerns E and her gay roommate, Matt, fleeing the club owner with the money that was misplaced in a taxi. Refused help by her parents and a friend, she and Matt decide to go to Trish’s farm in the country where they are temporally safe but the owner tracks them down, a confrontation – and helicopter rescue.

Mandahla Rose as E is a strong screen presence.

1. An Australian story? Universal story? Relationships? Sexuality?

2. A film about lesbian characters, in themselves, the relationship, their love, the consequences?

3. The Sydney settings, the club and the disco, types and customers, drugs? The flats? The streets? Countryside, the farm, the paddocks, the sheds? Authentic feel?

4. The musical score, the disco, the songs?

5. The title, application of All About Eve?

6. The introduction, E and her sexuality, the relationship, everybody waiting for her to come on stage, her arrival, her talent as a DJ?

7. The staff at the club, Johnny, his relationship with E, wanting to dominate her? His henchmen? The issue of the money, the suitcase, its disappearance? His searching, the CCTV, suspicions of E and Matt, the pursuit?

8. Matt, gay, at the club, sharing the flat with E, online searching for a partner, the money, his fears, wanting to give it back? E and her determination to keep it? Hundred dollars donation to the kids and the appeal? The men pursuing them?

9. Going to her parents, their hopes for her, playing the clarinet, giving up her studies, her believing in her talent as a DJ? Her mother’s reaction, her father’s? Going to her friends, the refusal to take them in?

10. The decision to go to the country, the flashbacks to her relationship with Trish?

11. Go to the country, Trish receiving them, their staying, Johnny turning up, their running away, with the money? The helicopter? The confrontation, Johnny with the gun knife, threatening Trish, Matt and his fear, The gun, the threats, the escape with a helicopter?

12. And the helicopter dispersing all the money…?

DROWN

Australia, 2015, 93 minutes, Colour.
Matt Levett, Jack Matthews, Harry Cook, Sam Anderson, Maya Stange, Jay R Tinaco.
Directed by Dean Francis.

Drown is not an easy watch. While very interesting, it offers a tough subject and tough exploration of characters.

The title has the overtones of water, death – and possible rescue. All in evidence in this film. This is the case right from the beginning with a voice-over by the star at the Sydney Beach Lifesaver club, Lenny (Matt Levett very forceful in a central role, a young man full of self-doubt with self-assertive behaviour). Lenny is swimming, talking about himself, the end of the world, about a young woman that he had not been able to save from drowning. His words are important and the whole scene is taken up at the end with devastating significance.

This is an Australian story. It is a Sydney story. It is a beach story. It is a young men’s story. And the particular focus with two of the central characters is homosexual orientation, coming out, or denial, desire and lust, some self-acceptance and some sobering repercussions of denial.

The screenplay co-written by Dean Francis, who also directed the film and edited it, is based on a play by Stephen Davies. The scenario has been opened out considerably and does not give the impression of having been a play originally – although there is quite a deal of voice-over and a style of commentary within the voice-over with comments like, he said, I said… The screenplay is also demanding on audience attention, the basic situation and a whole range of flashbacks, actual events, but a great emphasis on Lenny and the memories that keep coming into his mind.

The focus of Lenny’s attention is a new recruit as a lifesaver, Phil (Jack Matthews), good-looking, strong, beating champion Lenny in variations on the Iron Man race, popular at the club and becoming a new champion. Lenny and the audience discover that Phil is a gay man, a scene where he meets his partner, Tom (Sam Anderson) at a bookshop and setting up a home with him. Phil’ encounters with Tom are part of Lenny’s constant memories, Lenny becoming more obsessed while in denial about his feelings.

A surprise occurs when there is a flashback to Lenny as a child, his tough lifesaver father hosing him down on the front lawn, calling him faggot, demanding that he be a man and assert himself. This is highlighted when Lenny wins his trophy and attributes his success to his father, now infirm and with breathing apparatus.

The other central character is called Meat, Harry Cook, Lenny’s friend from school days, a pleasant young man in his way, a touch hefty, a touch dependent, and definitely Lenny’s acolyte, doing whatever Lenny asked – as has been seen in a flashback where he and Lenny bash a young gay boy at school.

While we have seen aspects of the climactic scene, it all comes to a head with Lenny’s attempt to humiliate and demean Phil, Lenny’s self-directed homophobia directing his malevolent behaviour.

The performances are very effective, the entry into the different world of Lenny and Phil challenging the audience about homosexuality, acceptance and denial – and the drowning repercussions of denial.

1. The title, water, rescue, death? Images of water? Images of water, swimming, drowning? Themes?

2. An Australian story? Sydney story? Beach story? Young men’s story?

3. The locations, the beaches, the sand, the waves, surfing, swimmers, sun-bakers? The lifesavers and the tower? Clubs, King’s Cross, the streets? The gay bar? The Mardi Gras procession? The musical score?

4. The theme of homosexuality, the response of Australian audiences? The focus of the characters, characters who were out, characters in denial and the effect? Latent homosexuality, extroverted homosexuality? Issues of self-image, self-acceptance, self-condemnation? Gay men in the street, camaraderie of the surfing club? Friendships? Gay relationships, as ordinary, domestic? The Mardi Gras procession, the floats? The visuals: bodies, sexual activity? Young men, coping or not? How insightful was the screenplay?

5. Lenny, his voice-over, the initial swimming, his comment about the end of the world, his low self-image, remembering the girl who had died? His place in the lifesaving club, the trophies, his father and grandfather, his being the champion, receiving the trophy? Secure and not secure?

6. The structure of the film, in the present, Lenny swimming, his commentary, brought up again at the end? The insertion of flashbacks? His childhood, memories of Phil? The audience constructing the narrative? The lifesaving club and its ethos? Lenny and his friend, his penis, calling him Meat, their activities at school? The bashing of the gay boy? Phil and his arrival at the club, Lenny and his jealousy, rivalry, in the competition, Lenny seeing Phil with his partner, the effect? Lenny and his show poses, buying the trunks, looking at himself in the mirror, his orientation, lust, dislike of Phil, mean and destructive?

7. Lenny, his childhood, his father hosing him down when a boy, calling him faggot, getting Lenny to assert himself? Lenny’s memories, yet his speech at the reception of the trophy, the tribute to his father, his father and the breathing apparatus? Lenny in this popularity with the team, with the audience at the celebration?

8. The character of Meat, school, his penis size, his name, his friendship with Lenny, the bashing at school, his being a follower, the nature of his friendship, except in the way that he was treated, ordered around by Lenny? Heterosexual, at the gay club, the toilet and the proposition, his response, his reaction to Lenny’s behaviour, his friendship with Phil?

9. Lenny, swimming to the rescue of the girl, the encounter, the kiss, her swimming out and drowning? Her later appearing in his consciousness? Following her example?

10. Phil, his arrival, the strong presence, his skills, rescuing the boy, winning the race? His wanting to belong to the club, following Lenny? The encounter with Tom at the bookshop, the attraction, the relationship, at home, the support, at the Mardi Gras? At the end with Phil being rescued?

11. The night out, Lenny leading, pressurising the others to drink, going to King’s Cross, the streets, the gay men kissing on the street, going to the bar, the Asian young man and his proposition to Meat, Lenny watching Phil, Phil at ease, drinking, taking the drugs, dancing, Lenny going downstairs, the encounter with the Asian, the sexual experience, his reaction, getting out, going to the car?

12. The scene on the beach, Lenny and the mixtures of motivation, forcing Meat to dig, wanting to humiliate Phil, the stripping, its effect? The fight with Meat and touching him and Meat’s reaction? Phil and his being out of it, response, being buried? Lenny and his attacking Meat and not filling in the hole, challenging him to the swim, their swimming out to sea, Meat and his challenge to Lenny, Lenny continuing out, the initial voice-over – and Lenny and his drowning?

BLUES BUSTERS

US, 1950, 67 minutes, Black and white.
Leo Gorcey , Huntz Hall, Adele Jergens, Craig Stevens, Bernard Gorcey.
Directed by William Beaudine.

Along with the many very small-budget second features in the 1940s and 1950s featuring Leo Gorcey and Huntz Hall, this is just a footnote in film history.

Gorcey and others appeared in the 1937 film, Dead End, with a group of young actors called the end And Kids which led to The Bowery Boys. They had a number of incarnations in short films including the East End Kids. Eventually, with Leo Gorcey as star and producer, they made a number of filler films, very American in their style.

In this one, Huntz Hall portrays his usual character who has a tonsillitis operation and finds that he can sing like Bing Crosby, becoming very popular in nightclubs. He is supported by Slip (Gorcey) and the bar proprietor, Louie (Bernard Gorcey). He is loyal but rather dimwitted and allows himself to be led astray by Adele Jergens, signing his autograph all over hotel room and then, unwittingly, signing away his contract to a rival club owner, played by Craig Stevens in an early role. Most of the action concerns Hall’s comedy, the exasperation of Louie and his group, the dreadful lack of talent with Slip and his attempt to sing, with their dancer setting up the rival for a jealous outburst and the retrieval of the contract.

A historical movie footnote.